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Feminine Realism in Cornhill Magazine: Anne Thackeray Ritchie and Frances Parthenope Verney

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Feminine Realism in Cornhill Magazine: Anne Thackeray Ritchie and Frances Parthenope Verney University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2012 Feminine Realism in Cornhill Magazine: Anne Thackeray Ritchie and Frances Parthenope Verney Alexandra Virginia Scamahorn University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Scamahorn, Alexandra Virginia, "Feminine Realism in Cornhill Magazine: Anne Thackeray Ritchie and Frances Parthenope Verney" (2012). Electronic Theses and Dissertations. 578. https://digitalcommons.du.edu/etd/578 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. FEMININE REALISM IN CORNHILL MAGAZINE: ANNE THACKERAY RITCHIE AND FRANCES PARTHENOPE VERNEY ____________ A Thesis Presented to the Faculty of Arts and Humanities University of Denver ____________ In Partial Fulfillment of the Requirements for the Degree Master of Arts ____________ by Alexandra Scamahorn November 2012 Dr. Eleanor McNees Author: Alexandra Scamahorn Title: FEMININE REALISM IN CORNHILL MAGAZINE: ANNE THACKERAY RITCHIE AND FRANCES PARTHENOPE VERNEY Advisor: Dr. Eleanor McNees Degree Date: November 2012 ABSTRACT This thesis explores the literature published by two lesser known women writers in Cornhill Magazine during the 1860s: Anne Thackeray Ritchie and Frances Parthenope Verney. By using the magazine as a context for their fiction, I examine the ways in which these writers both reflect Cornhill’s brand of realism, which privileged masculine ideology, and diverge from it, inserting a feminine perspective. Because the magazine’s representation of the multiple facets of its society is varied and complex, my thesis examines a particular aspect of societal representation: one that depicts mid-nineteenth- century society in transition from traditional to progressive values. Caught between these phases, Thackeray Ritchie and Verney recognize and reflect the implications such a transition had on women and their place in society. Both embrace traditional values and comply with gender norms, creating distinctly feminine texts, but, in so doing, they argue for more opportunities for women, including education, vocation, and independence. In the process of portraying women, they create a feminine realism that complies with but expands Cornhill’s masculine ideology and realist constructions. ii Table of Contents Chapter One: Introduction……………………………………………………....………...1 Cornhill’s Context: Transition, Realism, and Periodicals……….…......……...….6 Cornhill Magazine………………………………………………..…......…….…12 Chapter Two: Anne Thackeray Ritchie...……………………………………....……..…27 Thackeray Ritchie’s Nonfiction…………………………………….......…...…...31 The Story of Elizabeth…………………………………………….….....……..…45 The Village on the Cliff………………………………………...…..….....……....62 Chapter Three: Frances Parthenope Verney…………………………………….........….81 Verney’s Nonfiction……………………………...………………………...........84 Stone Edge…………………………………………………………..……..….....96 Lettice Lisle……………………………………………………………...….......113 Chapter Four: Conclusion……………………………………………………………....127 Notes…………………………………………………………………...……….……....130 Bibliography………………………………………………………..…………...…..….135 iii Chapter One: Introduction In 2008, Victorian Periodicals Review celebrated forty years of continuous publication. When it began, periodical research was not an established field of literary scholarship. Walter Houghton’s and his wife’s compilation of the Wellesley Index allowed scholars to navigate a morass of printed material for the first time. During this period, the Review was only a newsletter, struggling to attract contributors and funding. Early periodical scholars recognized that newspapers, magazines, and journals could provide a fuller picture of Victorian society than information gleaned from traditional historical and literary sources. As Michael Wolff points out, elite members of Victorian society documented significant events, beliefs, and trends that historians considered important and relevant. Periodicals, however, allow the modern scholar to glean information on other groups, like poor working-class men or middle-class women, and periodicals thereby offer an opportunity to rediscover lost voices and perspectives. In his landmark article “Charting the Golden Stream” published in 1971, Wolff calls for scholars to make periodicals easier to access both physically and bibliographically, stating that periodicals and newspapers provide new research materials needed to revitalize studies of Victorian England. Early research demonstrated the ways in which periodicals reflect Victorian culture. Lyn Pykett describes the various methods employed by scholars including the reflective/constructive model and the foreground/background model. Houghton used the reflective model, demonstrating how 1 periodicals provide historical and cultural information on their society while other scholars employed the foreground/background model to help legitimize periodical research for mainstream scholarly work, arguing that periodicals provide a context for studying canonical writers (102). By the late 1980s, critics began applying theoretical questions to periodical studies. Focus shifted from the idea that periodicals reflect culture to the belief that they actually construct it.1 Though the background model is still useful for Victorian studies today, Linda K. Hughes explains that periodicals actually helped shape Victorian society, and this fact highlights their importance in understanding this period (318). Lyn Pykett argues, Periodicals can no longer be regarded in any simply reflective way as “evidence” . as transparent records which give access to, and provide the means of recovering, the culture which they “mirror.” Far from being a mirror of Victorian culture, the periodicals have come to be seen as a central component of that culture. (102) Identifying periodicals as either reflective or constructive involves consideration of the genre of realism and whether this genre reflects society and nature or portrays them in a way that reinforces accepted values and beliefs, or, in other words, constructs a culturally specific ideology. Viewing periodicals as both reflective and constructive provides the modern reader with multiple approaches to the genre. Pykett describes Michael Wolff’s method as a “mixed reflective/constructive model”: Wolff acknowledges that periodicals constructed Victorian ideas, opinions, and beliefs as well as reflected them (102). As Hughes points out, the reflective or background model has beneficial uses, such as allowing readers to rediscover authors who were popular and influential in their own time 2 but failed to reach canonical status. Periodicals also preserve work by writers who were not necessarily popular but who offer the modern reader new insight into the periodical itself. These writers interact with the periodical’s context in various ways, painting a wider picture of how the magazine responded to specific issues, but also actively constructing part of the magazine’s ideology, both conforming to and altering it as a context. Periodicals provide social, political, cultural, and historical contexts for the works they published, which helps the modern scholar to recover lost writers. Each periodical targeted a certain audience based on class, gender, and education, among other factors. Periodicals adopted a philosophy, or ideology, and a political position, reflected in both content and overall tone. In consideration of these factors, the scope of this paper focuses on Cornhill Magazine because it attracted a wide audience and specifically targeted middle-class readers. As a magazine that avoided controversy or extreme positions on most important issues of the period, Cornhill illustrates a middling portrait of Victorian society that would have appealed to a wide audience. In accordance with expectations for periodical literature of the time (i.e., to furnish readers with educational material as well as entertainment), Cornhill reflects the values of the middle class while also creating standards towards which its audience could strive. As discussed below, the magazine’s editors and publisher were concerned with accurately representing Victorian society, and in the process, they constructed their own ideology and “realism” to satisfy their audience and reinforce Victorian values. Situating the magazine among the numerous Victorian periodicals of the period and identifying Cornhill’s representation of its society provides a better understanding of 3 the writers who inserted their work into a specific ideological context, including how their works interacted with other pieces and authors published in the magazine. Examination of women writers and their treatment of women in their work, for instance, requires a broader understanding of the magazine’s attitudes toward women. On the surface, Cornhill conveys a conventional treatment of women in society, but closer study of individual works, especially by women writers, reveals a more complex view of how women were represented in the magazine’s literature. This thesis examines how women are represented in the literature written by women writers who contributed serial novels to Cornhill during the 1860s
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